ters which he supplied to Fulkerson for ten
dollars a week.

They were very well done, but he hated doing them after the first two or
three, and had to be punched up for them by Fulkerson, who did not cease
to prize them, and who never failed to punch him up. Beaton being what he
was, Fulkerson was his creditor as well as patron; and Fulkerson being
what he was, had an enthusiastic patience with the elusive, facile,
adaptable, unpractical nature of Beaton. He was very proud of his
art-letters, as he called them; but then Fulkerson was proud of
everything he secured for his syndicate. The fact that he had secured it
gave it value; he felt as if he had written it himself.

One art trod upon another's heels with Beaton. The day before he had
rushed upon canvas the conception of a picture which he said to himself
was glorious, and to others (at the table d'hote of Maroni) was not bad.
He had worked at it in a fury till the light failed him, and he execrated
the dying day. But he lit his lamp and transferred the process of his
thinking from the canvas to the opening of the syndicate letter which he
knew Fulkerson would be coming for in the morning. He remained talking so
long after dinner in the same strain as he had painted and written in
that he could not finish his letter that night. The next morning, while
he was making his tea for breakfast, the postman brought him a letter
from his father enclosing a little check, and begging him with tender,
almost deferential, urgence to come as lightly upon him as possible, for
just now his expenses were very heavy. It brought tears of shame into
Beaton's eyes--the fine, smouldering, floating eyes that many ladies
admired, under the thick bang--and he said to himself that if he were
half a man he would go home and go to work cutting gravestones in his
father's shop. But he would wait, at least, to finish his picture; and as
a sop to his conscience, to stay its immediate ravening, he resolved to
finish that syndicate letter first, and borrow enough money from
Fulkerson to be able to send his father's check back; or, if not that,
then to return the sum of it partly in Fulkerson's check. While he still
teemed with both of these good intentions the old man from whom he was
modelling his head of Judas came, and Beaton saw that he must get through
with him before he finished either the picture or the letter; he would
have to pay him for the time, anyway. He utilized the remorse with which